Freak Out!

Erstling des Rock-Karikaturisten, Gesellschafts- und Kulturkritikers, und Egomanen Frank Zappa, der musikalisches Neuland betritt und eine ganz eigene, avangardistische Interpretation der Rockmusik darstellt. Sogar die Beatles sollen sich von diesem Album für ihren "Sgt. Pepper" inspirierert gefühlt haben.

Estoy comprando los álbumes de Zappa también en CD por razones de transportabilidad.¡Qué decir de este álbum que no se haya dicho ya! (Mientras escribo estoy escuchando el “Sleep Dirt”, qué maravilla el Zappa jazzístico).A lo que iba. “Freak Out” es un disco que no entraña dificultades para el oyente hasta las últimas canciones.Si hablamos de la versión en LP, para entendernos mejor, todo el primer LP está compuesto de canciones sencillas, de temática amorosa o de protesta. Y aun el segundo LP comienza con “Trouble Every Day” que es una gran canción, dylaniana en su larga letra, pero que tampoco es de difícil escucha.La cosa se complica con “Help, I’m a rock”, “It Can’t happen here” y “The Return Of The Son Of Monster Magnet”. La primera con su ritmo hipnótico, la segunda un cuarteto delirante y, para terminar, los más de doce minutos de “The Return Of…”Una de las muchas formas de adentrarse en la música de Frank Zappa es con este disco.Saludos.

En el contexto el álbum de Frank Zappa y The Mothers of Invention, Freak Out! sugiere una invitación a romper las normas, desafiar lo convencional y explorar lo desconocido y subversivo en la música y la sociedad. Una traducción que conserve el espíritu del título podría ser algo como "¡Desquíciese!" o "¡Pierda el control!", transmitiendo esa sensación de rebelión y libertad creativa que define el álbum.Para mi "Freak Out!" es mucho más que un álbum debut; es el inicio de una revolución sonora de la mano de Frank Zappa y The Mothers of Invention. Este disco doble, lanzado en 1966, destila psicodelia, humor negro y una visión ácida de la sociedad estadounidense de los sesentas. Cada canción es un experimento, desde la crítica social mordaz de "Hungry Freaks, Daddy" hasta el collage sonoro de "Help, I’m a Rock," donde Zappa rompe las reglas del rock, infundiendo jazz, blues y elementos de avant-garde."Freak Out!" no solo desafía al oyente, sino que te invita a cuestionar lo establecido, a través de letras satíricas y estructuras musicales inesperadas. El álbum es una obra maestra influyente para quienes buscan entender los límites y las posibilidades del rock como expresión artística. En resumen, es un viaje intenso y desafiante que expande la mente y redefine el género, posicionando a Zappa como un pionero del rock experimental y un visionario musical. Excelente Album recomendacion hay que tener buen humor y esperar lo inesperado....

Lo que fue el inicio de una leyenda... Si eres fan de Zappa no debe faltar en tu biblioteca; buena remasterización. Excelente album y calidad de CD.

There's almost too much on this album. So many ideas, so many barriers he wanted to break. I am enjoying it, and there are moments of sheer joy, "Trouble Every Day" is right up there with "Let's Make the Water Turn Black" for me. I can listen to each song and find something brilliant, but I have yet to listen to it and feel it as a whole album. And yet, we're only a year and a half away from "We're only in it for the Money", to me a perfect album. I can see a lot of that album in this one and find it fascinating.

Le début de l'histoire, et quelle histoire ! Un monument pour commencer, pas moins ! Après, allez décrire la folie du truc... Et son énorme ambition évidemment ! Et voilà, les deux mamelles du "zappisme" énoncées, folie et ambition, l'une nourrissant l'autre qui nourrit l'une, etc. Après, il faut les méninges pour ça, Frank les a, et l'entourage qu'on s'est construit, ces musiciens qui pourront donner vie aux fantasmes d'un compositeur hors-norme, on appellera ça les Mothers of Invention et le collectif sera, parce que comme un peintre le fameux moustachu pourra aller y cherchez à sa guise les couleurs qu'il veut coucher sur la toile. Et la musique, me direz-vous, ça ressemble à quoi ? A rien !, ou plutôt à tout ce qui passe par le cerveau détraqué d'un génie aussi démonstratif que le sieur Zappa, une sorte de virée sur d'himalayennes montagnes russes sonores où on est bringuebalé entre rock psychédélique ou garage, jazz, avant-garde contemporaine, blues, pop, soul, musique de cartoons et, évidemment un humour souvent potache, parce qu'un génie peut aimer le son du pet et s'en réjouir en petits gloussement répétés, qui allège l'ensemble sans amoindrir l'accomplissement musical. Mais attention !, si tout semble se bousculer dans une joyeuse apparence de chaos c'est, bien-sûr, une impression trompeuse, parce que tout est pensé, forcément, affiné, affuté par un arrangeur qui sait exactement où il veut aller et qu'on suit volontiers. Bref, tout ça nous donne un disque qui réunit les adorateurs de Gentle Giant et des Stooges, de John Coltrane et des Beatles, qui réconcilie donc l'irréconciliable comme seuls les très grands savent le faire. C'est tout ça Freak Out!, et dire que ce n'est que le début de l'histoire !1. Hungry Freaks, Daddy 3:302. I Ain't Got No Heart 2:353. Who Are the Brain Police? 3:334. Go Cry on Somebody Else's Shoulder 3:415. Motherly Love 2:456. How Could I Be Such a Fool 2:137. Wowie Zowie 2:538. You Didn't Try to Call Me 3:189. Any Way the Wind Blows 2:5510. I'm Not Satisfied 2:3811. You're Probably Wondering Why I'm Here 3:3812. Trouble Every Day 5:5013. Help, I'm a Rock 4:4314. It Can't Happen Here 3:5615. The Return of the Son of Monster Magnet 12:19- The Mothers of InventionFrank Zappa – guitar, conductor, vocalsJimmy Carl Black – percussion, drums, vocalsRay Collins – vocals, harmonica, cymbals, sound effects, tambourine, finger cymbals, bobby pin & tweezersRoy Estrada – bass & guitarron, boy sopranoElliot Ingber – alternate lead & rhythm guitar with clear white light- The Mothers' AuxiliaryGene Estes – percussionEugene Di Novi – pianoNeil Le Vang – guitarJohn Rotella – clarinet, saxCarol Kaye – 12-string guitarKurt Reher – celloRaymond Kelley – celloPaul Bergstrom – celloEmmet Sargeant – celloJoseph Saxon – celloEdwin V. Beach – celloArthur Maebe – French horn, tubaMotorhead Sherwood – noisesKim Fowley - hypophoneMac Rebennack – pianoPaul Butterfield – vocalsLes McCann – pianoJeannie Vassoir – (the voice of Cheese)

Frank Zappa was a composer like no other, both prolific and brilliant, his work self-consciously avoided specific stylistic restraints and virtually broke all the rules in the book. His musical language appeared to be organic that came out of nowhere. On the surface it seems his work is disjointed and almost amateurish but nothing could be further from the truth.His music abstractions are equivilent of socio-political and economic revolutions. Just as Marx in Das Kapital, challenged the systematic way capitalism uses ideology to distort our perceptions of how it works, Zappa's abstractions, as first heard on his debut masterpiece, challenged set in stone perceptions of how music could be produced and approached.Zappa's aesthetics mirror the attitude of punk over a decade before it was first coined. The arrival of 'Freak Out' in March 1966 was the musical equivelent of the biblical account of the parting of the Red Sea. It was a recording that blasted away the music of the dark ages that preceded it, in part because it respected no particular musical tradition in which no subject matter was deemed to be so elevated as to be above the reach of Frank's biting ridicule and cutting satire.In Frank's world nothing is sacred, and I mean literally nothing. 'Freak Out' represents a kind of experimental template and catalyst for virtually all of the avantegarde that followed in its wake. The emergence of the music of the Canterbury School of the early 1970s, for example, owes a huge debt to the album. Frank broke down the musical and stylistic boundaries and constraints from which there would be no turning back. 'Freak Out' and his subsequent early recordings, bridged rock and pop, doo-wop, rhythm'n'blues, jazz and classical music. Its a music that respects no rules of harmony, allied to a 'politics' that proclaims the essence of unconditional freedom.With 'Freak Out', Zappa was the first to produce the double album when most rock musicians were barely beginning to make Lps. He also invented rock opera, progressive-rock and with 'Freak Out', co-invented the concept album. He was the first rock musician to consciously use the studio as an instrument as opposed to just using the band or the orchestra as ensembles of instruments. As evident throughout the 'post-modern' 'Freak Out', Zappa's composing of music consists of splicing or cutting-up fragments and snippets of music inspired to pre-existing music.The 'organization of sound' as a 'unit', as opposed to sound in and of itself, is the basis of his compositional approach. To achieve this aim, he often borrowed from tv jingles, nursery rhymes and cartoons, but made no distinction between these sounds and musical genres like doo-wop, music-hall, classical ballets, jazz improvisation or dissonant music.Zappa implicitly understood that a stylistic quotation, as opposed to music, is a form of representational art because it is intrinsic to a specific time and place. Frank realized that a musician can utilize stereotypical sounds within that specific moment of time and place - jingles, nursery rhymes etc - in order to make a statement about the nature of the sort of society that produces these kinds of sounds. In this regard, Frank's supplanting of Marx's theories of commodity fetishism and alienation to music, exemplified his genius that was to be imitated by subsequent generations of musicians. Frank's insightful commentaries on the society of his time have proved prophetic in predicting the mass consumer societies of contemporary capitalism.Frank was a living musical encyclopedia who managed to excel in a multitude of genres simultaneously. But for Frank his satire and often self-depracating and playful approach was his first and main art, and his music a kind of soundtrack to it. In this regard, I sometimes feel as though Frank would have been better served and more appreciated if he had taken more of a 'serious' approach by specializing in a single musical genre.If he had gone down this particular road, his legacy for greatness within the mainstream would have been almost certainly guaranteed. But by the same token, he wouldn't of been the Frank so many of us came to admire - the genius outsider and thorn in the side of the music industry - that makes him a hero and inspirational figure to so many people.